Mastering is not about fixing a bad mix. Its purpose is to:

• Balance the overall frequency spectrum
• Control dynamics
• Increase perceived loudness
• Ensure consistency across all playbacks systems

The goal is simple: make your track sound clean, powerful and coherent everywhere. Studio monitors, headphones, car speakers, phone speakers, everything.

On of the most common mistakes is sending a mix that is already too loud.

Before mastering, your mix should:

• Peak around -6 dBFS
• Have no clipping
• Contain no limiter on the master bus

Headroom gives the mastering process space to work properly. A squashed mix cannot be "unsquashed" later.

A clean master always starts with a clean frequency balance.

Key principles:

• Cut before boosting
• Remove unnecessary low-end rumble below 30-40 Hz
• Control harsh frequencies between 2KHz and 5KHz
• Tame excessive high-end above 12KHz if the track is brittle

Small EQ moves matter fat more in mastering than agressive shaping.

Mastering compression sould be subtle.

Typical mastering compression settings:

• Low ratio (1.2:1 to 2:1)
• Slow attack
• Medium release
• Only 1-2dB of gain reduction

If your compressor is working hard, the mix probably needs fixing, not mastering.

Streaming platforms normalize playback to -14 LUFS, but this is NOT a mastering target. Loudness must be chosen based on musical style, not platform rules.

• -14 LUFS is only a playback normalization reference
• Your master doas not have to be at -14 LUFS
• Loudness depends on the genre and artistic intent
  • EDM / Bass Music: ~6 LUFS
  • POP / Rap: ~8 LUFS
  • Indie / Rock / Country : ~10 LUFS
• Platforms reduce loud tracks and boost quiet tracks
• Masters below -14 LUFS will be turned up
• High True Peak + gain boost = risk of clipping
• Short True Peak overs above 0dBTP can happen momentarily, but sustained peaks should stay below 0 dBTP
• LUFS is a creative decision, not a technical obligation

The goal is not to hit a number, but to preserve impact, dynamic and translation across all systems.

The limiter is the very last stage of the mastering chain. Its role is to control peaks and increase perceived loudness without destroying the dynamics of the track.

Key principles:

• Use the limiter to catch transient peaks, not to crush the mix
• Avoid more than 2-3 dB of gain reduction when possible
• Watch both input and output levels carefully
• Listen for any sign of distortion, pumping or loss of punch

A good limiter should feel almost invisible. If you clearly hear its effect, it is probably working too hard.

Never judge a master in isolation. Your ears adapt very quickly, and loudness can easily trick perception.

Always compare your track with:

• Professional releases in the same genre
• Tracks with similar energy and arrangement
• A similar sonic intention

Important rule:

• Always level-match your references before comparing. A louder track will always seem "better" to the ear, even when it is not.

Referencing helps you keep a realistic perspective and prevents over-processing.